Tuesday, July 21st this year was the exact 70th birthday of Opera Australia, originally called the Elizabethan Opera Trust.
Though this first performance was actually in Adelaide, I definitely remember that in 1956 I saw my first ever opera in Newtown, Sydney, at the New Theatre. Commencing then with megahit THE MARRIAGE OF FIGARO by Wolfgang Amadeus Mozart, you couldn’t pick a more suitable opera than RIGOLETTO. One of the biggest hits worldwide since its premiere in 1851. Composer Giuseppe Verdi, together with fellow Italian Giacomo Puccini, is widely recognised as the greatest Opera composer of all time, and though his scores are terrific in all works, none are better than this particular one.
Of course no aria is more beloved than LA DONNA E MOBILE. Amazingly, Verdi knew he’d written a potential major hit, so he only gave it to the tenor a few days before opening and forbade him from even whistling it in public, lest one of his competitors steal it from him and pass it off as their own.
Much-loved and admired Australian Jewish director Elijah Moshinsky (1946-2021) created this widely acclaimed production in 1991, bringing the original story date to the DOLCE VITA era, and that is why this has basically been unchanged since then. That’s certainly a way of acknowledging a great setting.
What’s really important is the quality of every single aspect of this latest production.
The enthusiastic applause throughout the evening and the uncommon standing ovation at the conclusion certainly showed how much the packed house loved everything. Rigoletto himself was performed by Slovak baritone Dalibor Janis and definitely set the high standard. In an opera where male singers are critical, he was well supported by Chinese-Australian tenor Kang Wang, originally Russian Gennadi Dubinsky, New South Welshman David Parkin, local Bass-Baritone Simon Meadows and more.
Just as importantly, the female roles were led by local OA veteran Sian Sharp, who for more than two decades has starred for the company, plus Dominica Matthews , Jennifer Black and Katherine Wiles, all of whom were simply outstanding on the evening.
Especially since the acoustics for the Orchestra were significantly improved, it is just so wonderful to listen to the Opera Australia Orchestra, conducted this time by Italian Sesto Quadrini, making his OA debut. The extra applause he received when he arrived on stage at the end was proof of the audience’s love for the music they heard.
Full marks to Kate Gaul, Revival Director; Michael Yeargan, Set and Costume Designer; Robert Bryan, the lighting designer; and chorus designer Paul Fitzsimon, plus their colleagues, for great work in every way. The guys in the Chorus were particularly outstanding. And not to forget making a return appearance a FIAT 500!!
So all in all, OA produced an absolutely world-class performance of one of the most acclaimed operas of all time.
And it was definitely exciting to be part of the super-enthusiastic audience. My strongest recommendation is for everyone not to miss this.
5 Stars
RIGOLETTO
Opera Australia
Joan Sutherland Theatre
Sydney Opera House
July 21, 2026